Matthew McConaughey,right, stars as a newspaper reporter with his own secrets who he covers the case of a death-row inmate (John Cusack) in 'The Paperboy.' / Anne Marie Fox, Millenium Entertainment

by Claudia Puig, USA TODAY

by Claudia Puig, USA TODAY

Gator-filled swamps, an ultra-grungy murderer, racial undertones and a sexually charged atmosphere make up the tense and lurid world of The Paperboy.

Director Lee Daniels' deft adaptation of Pete Dexter's 1996 novel is even more disturbing on screen than on the page. It's a Southern Gothic noir thriller with a terrific ensemble cast.

The setting of The Paperboy (*** out of four; rated R, opens today nationwide) is south Florida in 1969, ricocheting between a sleepy backwater town and a remote bayou.

Jack Jansen (Zac Efron, in his best role to date) is at loose ends doing idle work for his father W.W. (Scott Glenn) the publisher of a small-town newspaper. Jack's older brother Ward (Matthew McConaughey) is a reporter for a Miami publication who comes back to their small town with his writing partner Yardley Acheman (David Oyelowo) chasing down what they hope is the biggest story of their careers. Their big break could also be that of the backwoodsy convicted killer Hillary Van Wetter (John Cusack) who they suspect was framed for the murder of a corrupt local sheriff.

As they investigate a possible miscarriage of justice, Jack gets swept up in their efforts, assigned mostly to squire around Hillary's sultry fiancée Charlotte (Nicole Kidman), on whom he develops a powerful crush. Simultaneously vulnerable, unstable and casually maternal, Kidman gives her most memorable performance since 1995's To Die For. While she alludes to a dark side (and seems at least to have masochistic tendencies) she clearly enjoys Jack's obvious infatuation with her. For his part, Jack is a sensitive soul deeply wounded by his mother's abandonment.

While all the performances are powerful, it's Cusack who leaves the most indelible impression as the creepiest convicted felon since Charles Manson. Looking bloated and sporting a criminally insane version of the haircut favored by Larry of The Three Stooges, Cusack's sinister performance couldn't be farther from his affable rom-com leading men roles. He so inhabits the part of the detestable Hillary that it's almost impossible to remember he was also Say Anything's charmingly besotted boy with the boom box blaring Peter Gabriel.

In a contest between spending time with Hillary or braving the hungry gators in his swamp, it would seem reasonable to choose the carnivorous reptiles.

Daniels, who directed Precious, has a nimble way with this sordid thriller's twists and ably captures the humid, oppressive setting. It may be too queasily violent for some, though moments of dark humor make it easier to sit through.

It's a seamy world and a trashy tale, but told entertainingly. Like the nastiness of Hillary's kin threatening outsiders away from their their bayou shacks, a sense of menace underlies the film. The Paperboy gets under the viewer's skin like a nasty rash.